| Ritual and Ceremonial Heritage |
| The many rites and ceremonies handed down from each generation through gestures and verbal expressions demonstrate the richness and diversity of the cultural heritage of Luang Prabang. By briefly reviewing the annual New Year Festival, the many layers of the harmonious relationship between the mythical, historical, and religious influences can be explored. |
| Traditional festivals are celebrated according to the Lao calendar, which is based on solar years and lunar months. Each cycle is comprised of twelve years, with each year represented by a different astrological animal. Although, the first month of the Lao lunar calendar corresponds to the month of December, in actuality, the new year is celebrated in April. Despite the many inconclusive theories as to why the new year was postponed until April, it is, however, a very favorable, auspicious time as the rainy season arrives marking the beginning of the agricultural season. The essence of the New Year Festival, which is known in Lao as Boun Pi Mai, is purification and renewal demonstrated by the ceremonial aspersion of the Buddha images at important Buddhist monasteries (wats) throughout Luang Prabang. These activities also parallel the cleansing and regeneration symbolized by the arrival of rain. |
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The Lao believe that every grain of sand used in the construction of sand stupas represents an adverse deed from the previous year that will be washed away by the river as it rises with the coming rainy season. Upon completion, the stupas are dusted with rice flour and decorated with paper streamers and an inscription. |
| New year activities commence on the day when the spirit of the old year (Mu Song Karn Pay) departs. Before anything else, in a symbolic gesture of purification for the coming new year, houses are swept to expel unfriendly spirits and cleansing of the many Buddha images in the wats and houses is undertaken. Water, which has fallen from the cleansed Buddha images, is collected to pour or playfully splash on family and friends throughout the festival. Early in the morning, crowds gather at the special festival market where paper streamers with hand colored Lao astrological animals can be purchased alongside small live creatures. In a demonstration of respect for all living things, they will be released back into their natural environment. Later in the afternoon, the auspicious gesture of building stupas (Tats) made of sand is undertaken on the nearby west bank of the Mekong River. It is thought that each grain of sand used to build the stupa represents an adverse deed from the previous year that will be washed away by the river as it rises with the coming rainy season. |
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The legendary past comes to life during the new year festival when Phou Nheu and Nha Nheu take part in the annual procession and perform their traditional dance in a gesture to purify the land and dispel evil spirits. |
| The following day, the intercalary day (Mu Nao), is reserved for resting and, in former times, all work was prohibited. To ensure that the calendar year corresponds to the solar year, on certain years the astrologers designate two intercalary days. On this intermediate day, a procession is held to honor the spirit of the new year. Activities commence to the sound of drums as the legendary guardian deities, Phou Nheu (grandfather) and Nha Nheu (grandmother), emerge from the Shrine of the Grand Deities (Ho Thevada Luang) in the Wat Aham compound where their red wooden masks and costumes have been enshrined during the year. The little lion Singkao Singkham (Jewel Lion/Gold Lion), which is believed to be the representation of an indigenous King, accompanies them. After ritual offerings, Phou Nheu and Nha Nheu perform a traditional dance in a gesture to purify the land and to dispel evil spirits. After the dance, children excitedly try to collect the hair that has fallen from Phou Nheu and Nha Nheu to keep as a good luck charm. The trio then proceeds to Wat Tat where they are joined by the New Year Queen (Nang Sang Khan) who represents one of the seven daughters of Kabilaphom, a legendary Heavenly King. Upon collecting her father's four-faced head, they all join the main procession to Wat Xieng Thong, which includes important community and religious leaders, monks and novices, as well as several elephants and their indigenous trainers. After arriving at Wat Xieng Thong and accepting offerings from the people, Phou Nheu and Nha Nheu perform their mythical dance once again. |
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On the first day of the new year, activities begin at dawn with an alms-giving ceremony where Theravada buddhist monks receive special gifts of food and money. |
| The next day is the first day of the new year when the spirit of the new year (Song Karn Khun) arrives. Activities begin at dawn with an alms-giving ceremony (Taak Bat) where Theravada Buddhist monks receive special gifts of food and money. On this day, many Sou Khouan ceremonies are also performed to call back wandering souls and ask for their protection. In the afternoon, a procession from Wat Xieng Thong to Wat Tat ends with a performance by Phou Nheu and Nha Nheu. Later in the day, carrying containers filled with fragrant water, the young and old alike proceed to neighborhood wats to asperse images of the Buddha by means of a Hanglin, a long hollow, wooden implement carved in the shape of a naga. Poured into the bird-like creature with an elephant's trunk decorating the tail end of the naga, the scented water flows through to the naga's head and emerges from its mouth onto the images of the Buddha placed beneath. This gesture is believed to ensure that the new year will be filled with good luck, happiness, and prosperity. |
| On the morning of the fourth day, after the new year cycle has been completed, the sacred Pra Bang image of the Buddha is moved from its pedestal in the Pra Bang Room in the Museum of Luang Prabang and ceremoniously transported in a procession to nearby Wat Mai. It is placed on a specially prepared covered dais in the courtyard and, during the next three days, all members of the community asperse the sacred image with lustral water poured into a Hanglin. The sacred Pra Bang image of the Buddha is believed to posssess extremely protective powers and while undertaking this gesture of purification, each person pays homage to the sacred image for the protection it has provided everyone in the past and requests protection for all during the new year. The subsequent return of the sacred image to its place of honor in the Pra Bang Room in the Luang Prabang Museum signals the conclusion of the New Year Festival. |
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Ritual & Ceremonial Heritage